Red Mosquito

Im saying the albums are genuine. Sure, sucks he cant maintain the vocal strength for a 3 hour concernt, but he is still hitting those notes on record and, when not xx hours into a performance...still hits them...

Is given to fly any less real because he has NEVER sang "a human being that was given to fly..." like he did on the record?

dprival78 wrote:yea, but the live performances are real. the albums are turning out to be misrepresentations. I mean at what point does what eddie's doing become the same as what all the phony pop 'artists' out there do? I don't want to hear a pearl jam album ten years from now that features an eddie that sounds like he's 32. yea, that might sound good, but it'd be totally artificial.

Do you hate the album Revolver by the Beatles?

This song is like ten different songs, and only about 2 of them are good.

Trying too hard on this one.

edit: whelmed? is he really saying 'whelmed'? I thought that was a joke. This makes me question my entire love of this band, past and present.

edit edit: oh I guess he says 'over' in the line before. Still... this song is fucking hilarious.

edit edit edit: anyone who cries after listening to this song deserves to be laughed at.

edit edit edit edit: that was harsh.

harmless wrote:I've tried to getaway from this thought, but every time I listen to this song it becomes more and more apparent that it might be the best song on the record. For all its overwrought cheese, it's just so unapologetically massive, and makes the biggest statement here.

Don't getaway from it... don't be apologetic. It's beautiful. Hell, do I think November Rain is a bit cheesy? Sure. But damn that's a good song. Aside from the "ah ha, oh oh" stuff at the end of Sirens, I think the cheese that's added really does add to the song. Matt sounds so precise, the solos really fit the music, the mood is set with Stone's "whale-ish" swooning guitar, and you would never guess it was a BoB-produced song if not for the keys and the intense vocal layering. It's sounds pristinely tight, which is not a PJ/Bob trait. I have not heard anything like this from this band before - and I love it.

I want to say that I also agree with the person earlier, who said this song struck them in a way that no other song since Thumbing My Way has been able to do. When I heard Thumbing (live, before Riot Act), I was sure the full-band version was going to be the next Black. It wasn't, of course, but that song is still top 5 for me, and probably the most underrated song in the catalog (IMHO).

Comeback hit me in almost the same way - but, again, this song (to me) is SO different when compared to the rest of the catalog that it has really set itself apart for me. I know that, for many, such a departure from the sound that is Pearl Jam is a bad thing - but then how much complaining do we hear for experimentation?

I love the entirety of this album, sans LTRP... just for the record. And, while I'm at it, I'm an unabashed Backspacer fan as well.

SIDE NOTE: I do hope Ed will gain some vocal strength through the tour, or they will play the song earlier in the set, so that he won't sound as flat on this song as he did in Buffalo... Not tragically flat, but definitely flat. People are going to want to hear this one and there's only going to be another 5 years or so where he can potentially hit these notes.

Apologies for the long post - just weighing in on all that I've read over the last 100+ pages!

I don't get why so many Pearl Jam fans like this song, it's almost the anti-Pearl Jam song. They've not written a song this blatantly obvious since Black and even that was far more contrasted. I just think it shows a complete lack of sincerity and subtlety, which is one of the massive reasons I'm such a huge fan of Pearl Jam. I can understand why other people might think it's good (i.e. non-fans), but then again, I can also understand why they'd think it's terrible.

Don't get me wrong, I don't think it's necessarily a terrible song and I don't hate it. I just hate the thought of it, oh so much.

Sirens was the most listened to Pearl Jam song on last.fm last week.

1
Sirens
9,458
2
Mind Your Manners
8,015
3
Getaway
6,576
4
Even Flow
6,142
5
Lightning Bolt
5,986
6
Alive
5,542
7
Infallible
5,450
8
Jeremy
5,334
9
Pendulum
5,316
10
Black
5,183

Oversize wrote:

harmless wrote:I've tried to getaway from this thought, but every time I listen to this song it becomes more and more apparent that it might be the best song on the record. For all its overwrought cheese, it's just so unapologetically massive, and makes the biggest statement here.

Don't getaway from it... don't be apologetic. It's beautiful. Hell, do I think November Rain is a bit cheesy? Sure. But damn that's a good song. Aside from the "ah ha, oh oh" stuff at the end of Sirens, I think the cheese that's added really does add to the song. Matt sounds so precise, the solos really fit the music, the mood is set with Stone's "whale-ish" swooning guitar, and you would never guess it was a BoB-produced song if not for the keys and the intense vocal layering. It's sounds pristinely tight, which is not a PJ/Bob trait. I have not heard anything like this from this band before - and I love it.

I want to say that I also agree with the person earlier, who said this song struck them in a way that no other song since Thumbing My Way has been able to do. When I heard Thumbing (live, before Riot Act), I was sure the full-band version was going to be the next Black. It wasn't, of course, but that song is still top 5 for me, and probably the most underrated song in the catalog (IMHO).

Comeback hit me in almost the same way - but, again, this song (to me) is SO different when compared to the rest of the catalog that it has really set itself apart for me. I know that, for many, such a departure from the sound that is Pearl Jam is a bad thing - but then how much complaining do we hear for experimentation?

I love the entirety of this album, sans LTRP... just for the record. And, while I'm at it, I'm an unabashed Backspacer fan as well.

SIDE NOTE: I do hope Ed will gain some vocal strength through the tour, or they will play the song earlier in the set, so that he won't sound as flat on this song as he did in Buffalo... Not tragically flat, but definitely flat. People are going to want to hear this one and there's only going to be another 5 years or so where he can potentially hit these notes.

Apologies for the long post - just weighing in on all that I've read over the last 100+ pages!

it's hard to read this post imagining it came from The Joker

Mike wrote:Sirens was the most listened to Pearl Jam song on last.fm last week.

1
Sirens
9,458
2
Mind Your Manners
8,015
3
Getaway
6,576
4
Even Flow
6,142
5
Lightning Bolt
5,986
6
Alive
5,542
7
Infallible
5,450
8
Jeremy
5,334
9
Pendulum
5,316
10
Black
5,183

good luck on your test today

dprival78 wrote:

Strat wrote:Im sure he hit the notes just in fine in the studio. He also sounded great on the video version.

I do not care if ed can hit notes live these days. We will always have the albums and a live performance is a fleeting moment that invovles many different aspects that can make or break it.

yea, but the live performances are real. the albums are turning out to be misrepresentations. I mean at what point does what eddie's doing become the same as what all the phony pop 'artists' out there do? I don't want to hear a pearl jam album ten years from now that features an eddie that sounds like he's 32. yea, that might sound good, but it'd be totally artificial.

ah.. I'll try to stop dwelling on this and go back to enjoying the record. I'll try to postpone any further disappointment until my string of shows is over.

I don't really understand this complaint, but that's because I care far more about the studio version sounding good. As long as it does I'm happy. If Ed sounds fake in the performance on the record it would probably not sound that good to me. But I like the sound of just about everything I hear on L-bolt, and the few places I don't it isn't because he's reaching for notes or anything. And as strat said, the live experience hangs on so much that not hitting a particular note, even downtuning a song, may not make or break a performance.

I find it strange that they only down-tune the new songs though. Kind of like admitting they can fuck with these ones but not the others because people will care less? Just find it a bit defeatist considering if they knew they weren't gonna be able to do in that key live they could've just done it in the lower key anyway and we would've been none the wiser. Having said that, it is nice to have studio versions where they are giving the songs their best representation.

stip wrote: good luck on your test today

Thanks, I'm already back! No more logic theories for me.

stip wrote:

Oversize wrote:

harmless wrote:I've tried to getaway from this thought, but every time I listen to this song it becomes more and more apparent that it might be the best song on the record. For all its overwrought cheese, it's just so unapologetically massive, and makes the biggest statement here.

Don't getaway from it... don't be apologetic. It's beautiful. Hell, do I think November Rain is a bit cheesy? Sure. But damn that's a good song. Aside from the "ah ha, oh oh" stuff at the end of Sirens, I think the cheese that's added really does add to the song. Matt sounds so precise, the solos really fit the music, the mood is set with Stone's "whale-ish" swooning guitar, and you would never guess it was a BoB-produced song if not for the keys and the intense vocal layering. It's sounds pristinely tight, which is not a PJ/Bob trait. I have not heard anything like this from this band before - and I love it.

I want to say that I also agree with the person earlier, who said this song struck them in a way that no other song since Thumbing My Way has been able to do. When I heard Thumbing (live, before Riot Act), I was sure the full-band version was going to be the next Black. It wasn't, of course, but that song is still top 5 for me, and probably the most underrated song in the catalog (IMHO).

Comeback hit me in almost the same way - but, again, this song (to me) is SO different when compared to the rest of the catalog that it has really set itself apart for me. I know that, for many, such a departure from the sound that is Pearl Jam is a bad thing - but then how much complaining do we hear for experimentation?

I love the entirety of this album, sans LTRP... just for the record. And, while I'm at it, I'm an unabashed Backspacer fan as well.

SIDE NOTE: I do hope Ed will gain some vocal strength through the tour, or they will play the song earlier in the set, so that he won't sound as flat on this song as he did in Buffalo... Not tragically flat, but definitely flat. People are going to want to hear this one and there's only going to be another 5 years or so where he can potentially hit these notes.

Apologies for the long post - just weighing in on all that I've read over the last 100+ pages!

it's hard to read this post imagining it came from The Joker

Touche Stip. I was thinking "Ok, this post will make me a villain around here so might as well pick the best villain ever!"

So ... after going "meh" about it, having this shoved down my god damn fuckin throat, I kind of like it

Fuck You Jobu wrote:So ... after going "meh" about it, having this shoved down my god damn fuckin throat, I kind of like it

Sirens Vortex.

fishbob wrote:I don't get why so many Pearl Jam fans like this song, it's almost the anti-Pearl Jam song. They've not written a song this blatantly obvious since Black and even that was far more contrasted. I just think it shows a complete lack of sincerity and subtlety, which is one of the massive reasons I'm such a huge fan of Pearl Jam. I can understand why other people might think it's good (i.e. non-fans), but then again, I can also understand why they'd think it's terrible.

Don't get me wrong, I don't think it's necessarily a terrible song and I don't hate it. I just hate the thought of it, oh so much.

And once you get over this, you will realize you kind of like it and then at one point....

BOOM

Ugh.

still getting chills from this one, but mostly from thinking about the story, i love the music, but Ed is saying some stuff that just gets me

I'm on my 32nd listen of this approximately, and I've gone down and up, hot and cold. Today, listening to it in the car on proper CD, I had a realization that is new to me and probably old-hat for others. I think stip alluded to it in his review, but what's so odd about this song is that, for a power ballad, 90% of the sentiment is coming from a place of fear. It's got all the key words of big cheese ("just to know we're safe," "grateful man," "I pull you close," "in the arms of another man", etc.) but in actuality all of those buzz words are being written/sung by a desperate dude who sits in bed at night anxious as fuck, waiting for the other shoe to drop. It's not until the very end of the song where "the fear goes away" and the song rises, something BOB properly reflects with the highlighting of the keyboards in this section. Then, the "ahh" "ohh" singing becomes like a mantra of release.

That's the best impression of stip I'll ever do. But I really did feel this on a grey morning into work. Ahh. Ohh.

This song will cause a strong reaction, whether you love it or hate it. But I do think it contains some classic Pearl Jam ingredients; it's not as much of a deviation from their sound as some are making it out to be.